Next to last set from the Shanghai Film Studios (I promise) ! This shot was tough, the A7 and especially the FE55/1.8 did a great job locking onto his face but 2 fps is like watching paint dry .... luckily there were 3 runs at this scene so I had a chance to get out the D800E and Sigma 35/1.4 however at the distance this was shot (ca. 20-25m) even at 5fps they failed miserably (locking on behind for every one of the 8-9 shots, probably it was just too far away, with a 35mm, to expect the focus point to find his head) and this shot from the A7 (even though I only got off this single shot) was easily the best focus.
Desaturated this to (I think) make it more feel like the era the film was supposed to be shot in.
And this was my favourite poster - fantastic I wonder if the advertising authorities would allow it today
retrofocus wrote:
Great shots as always ! I am curious - did you apply the vertical shift correction in post processing? Because 16 mm and also in the shot taken at 55 mm FL should give some non-vertical lines in the crosswalk and on the tower.
Thanks! Good eye! Yes, I did although. However, I kept in mind of doing perspective correction during PP while composing the images. For the first image, for example, I actually stood on a ledge and raised the camera high and used the tilted screen to do the composing and tried to keep the lines as straight as possible.
reprazent1 wrote:
nice, did you climb the Dom Tower?
AGeoJO wrote:
Thanks! Good eye! Yes, I did although. However, I kept in mind of doing perspective correction during PP while composing the images. For the first image, for example, I actually stood on a ledge and raised the camera high and used the tilted screen to do the composing and tried to keep the lines as straight as possible.
Makes sense - I do the same if I don't have my TSE lens with me and see some cool architecture scene. I then keep some space around the central part in the photo to allow vertical perspective correction afterwards and to crop accordingly.
A7s quick test of the Voigtlander 21mm f/4 Color Skopar.
This is a lens which basically creates an unpleasant PP project on the Nex 5, Nex 6, Nex 7 and the A7r. I have not tried it on an A7. Today I tried it on an A7s and was pleasantly surprised to see no magenta color cast, no obvious smearing in the corners and no strong vignetting. The lens is small, inexpensive and light weight on the A7s. And it works! Here is a shot with minimum processing taken with the A7s. The little corner vignetting is caused by my filter step-up ring which I should have removed.
A7r with Leica WATE (Wide Angle Tri-Elmar-M) I love this lens. I am having a hard time using anything else. It makes me want to sell my other lenses. I am beginning to think I could live with three lenses.
Dale: I have had an abundance of lenses but for the most part I was happy with a three lens set up. The WATE seems like an extraordinary lens and you put it to good use. But it is your framing and work that makes the lens sing - good work. Beautiful environment helps but it is your work.
I could use a WATE myself, I do have the MATE en route to me but I am not sure it is up to that level.
Thanks! Before I took the plunge on the WATE, I had never even held a modern Leica lens in my hand. It is really amazing to have a near perfect image file at any setting. This is probably an exaggeration but that is what it feels like in post production. I have never seen a MATE either. I am looking forward to seeing your images and learning more about the lens.
I wonder if the advertising authorities would allow it today 
! I am curious - did you apply the vertical shift correction in post processing? Because 16 mm and also in the shot taken at 55 mm FL should give some non-vertical lines in the crosswalk and on the tower. 
